Trust something like K-Pop to make me nostalgic for 2012, of all things.
The ancillary troubles that dogged the Korean pop music industry throughout 2014 are well documented in K-Pop circles, and while I have no interest in writing a full-on postmortem, there’s little doubt these troubles had at least some effect on the amount of quality stuff released throughout the year. As once-big acts found themselves on the way out and the mid-tier labels attempting to profit from this got caught in a game of follow-the-leader, the resulting stretches of ho-hum releases stretched on for quite a while.
But this is K-Pop, and you can always guarantee such a high volume of output from all the gazillion labels these days that some of it is bound to be worth listening to. 2014 was no exception, producing some good quality singles worth celebrating, or in this case, counting down!
No album B-sides or non-Korean language songs from K-Pop artists are eligible for this particular list – generally only songs with MVs (music videos) appear. The visual nature of K-Pop means I have taken said MVs into consideration when ordering the list, but ultimately I made this list via an IPod audio playlist, so the song itself is the biggest contributing factor.
time that . -◊-◊-◊-◊- VR BEST OF 2014 DISCLAIMER This list represents my opinion only. I am not asserting any kind of superiority or self-importance by presenting it as I have. My opinion is not fact. If you actually agree with me 100%, that’s spooky. Respectful disagreement is most welcome. -◊-◊-◊-◊-
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15. Jackpot – Block B
K-Pop is a lesser entity overall without the crazy creative energy of Block B, so it’s a very good thing indeed that they are still around after all the label dramas of last year. Block B’s new home, Seven Seasons Entertainment, seems even more willing to let Zico and the boys loose on whatever concept tickles their fancy than Stardom was, and as a result we get things like Jackpot. Somehow both high-energy and creepy at the same time, the song leverages a carnival atmosphere to thrilling effect. Yes, the change-up for the chorus is jarring, but I have no doubt that was part of the plan, and that post-chorus is just so infectious. Block B is alive, manic and well. .
Last year I began my year-end countdowns with a list of a more negative flavour than the stuff I’m usually inclined to write, but it received a pretty substantial amount of attention (who knew?) and was a refreshing challenge to put together, so here we are with its 2014 return. I present my opinion on the top 10 entertainment media disappointments of 2014.
In the early months of the year, I didn’t have much of a list building. Almost every widely anticipated movie proved to exceed expectations rather than dip below them, and as for videogames, despite a relative six month drought of major releases, there was always something good to play. Then, in the second half of 2014, things started to unravel, with huge, emotionally charged media stories abounding over controversial issues. They were mostly gaming related, which stung a bit, but that was fine with me in at least one department, as it ensured I wouldn’t have to think up a new type of list for 2014. Here we go.
. -◊-◊-◊-◊- VR BEST OF 2014 DISCLAIMER This list represents my opinion only. I am not asserting any kind of superiority or self-importance by presenting it as I have. My opinion is not fact. If you actually agree with me 100%, that’s spooky. Respectful disagreement is most welcome. -◊-◊-◊-◊-
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10. Interstellar fell short of the hype
One could make the point that no movie of 2014 felt the weight of expectation more than Christopher Nolan’s Interstellar. Many people, myself included, waited with baited breath for more details to be revealed about the sci-fi epic following a highly cryptic opening teaser and an even less transparent first trailer. Few would disagree that Nolan’s highly impressive track record justified the kind of hype afforded to Interstellar, but when the disappointing first wave of reviews came through for the American release of the film, that hype backfired. Then, as my free time began to dissipate due to new commitments, a lot of my friends started to see it without me, and several of them raved about it. So my hopes were raised again – then I saw it myself. While I do think Interstellar is a good movie, even a very good one, I just can’t get past its messy attempts at sentimentality which, for me, place it below every other (admittedly excellent) Nolan movie thus far. It’s a compliment to the director, really. .
I’ve been listening to this one for over a month now, and I’m about ready to call it pretty damn awesome.
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Released: October 2014
Label:Big Machine Genre: Pop -◊-◊-◊-◊-
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TRACK LISTING
1. Welcome to New York 2. Blank Space 3. Style 4. Out of the Woods 5. All You Had to Do Was Stay 6. Shake It Off 7. I Wish You Would 8. Bad Blood 9. Wildest Dreams 10. How You Get the Girl 11. This Love 12. I Know Places 13. Clean 14. Wonderland (Deluxe only) 15. You Are In Love (Deluxe only) 16. New Romantics (Deluxe only)
I used to be really, really apathetic about Taylor Swift. For a long time I, like many people around the world today, barely batted an eyelid at a new single or album release from the Nashville-raised countrified pop star. I’m not exactly sure when that opinion started to change, though I know it probably had a lot to do with her refreshingly down-to-earth, highly entertaining public interviews with Ellen DeGeneres. Then in late 2012, Redhappened. An album that seemed impossible to avoid, Red represented a tangible departure from Swift’s country roots, pushing towards a more universally appealing sound. I let my curiosity get the better of me, bought it, and didn’t look back. Aside from its perhaps overindulgent length, the album was very hard to fault, and it was quickly deemed a modern classic by critics and fans alike. I kinda liked it too, so when the talented singer-songwriter announced an album with my birth year stamped on the front cover earlier this year, I was instantly hyped. The album promised a sound that borrowed liberally from late-1980s synth pop, and that it most certainly does. Yet 1989 still feels like a worthy successor to Red. It’s not as good, but it’s still a really enjoyable listen over and over again.
Listeners to the podcast I’m on, the Mega Ultra Blast Cast, will likely be familiar with Dazidia, the talented DJ who provides our music clips and occasionally remixes our trashy talk. So I’m quite familiar with the chilled vibes of his musical portfolio. Yet it wasn’t until recently that I downloaded a bunch of his songs and attempted to make a playlist out of them to act as writing/wind-down music. After perusing his Soundcloud profile, this is what I came up with:
(Some of these tracks are also on Daz’s new album/playlist release, Denuo. I’ve marked these particular songs with italics)
1. Jam Session
2. Ascension
3. Sail Away
4. Symphonie de la Vie
5. Cosmic Embrace
6. Moonstruck
7. Everflow (feat. DJ Duane Woods)
8. Substratosphere
9. Technical Difficulties (feat. Esky)
10. Grandeur of the Rainforest
11. Castles in the Sand
12. Peppermint Fairway
13. Unidentified Funky Object
14. Global Ripples Project (Bonus)
15. Aria of the Lounge (Persona Chill-Out Remix) (Bonus)
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I tried a couple of line-ups and settled on this one for the way it flows nicely in the background of my writing sessions. Of course, no-one knows Dazidia’s music better than the man himself, so check out his new playlist/album Denuoby clicking here. All of the above tracks are available for free download from Dazidia’s Soundcloud profile, so you too can enjoy the relaxing atmosphere of a sonic Daz journey with minimal effort. I thoroughly recommend the experience!
Man, when was the last time I did an album review?
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Released: July 2014
Label:RCA Records Genre: Comedy/Pop -◊-◊-◊-◊-
You’d better have some.
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TRACK LISTING
1. Handy 2. Lame Claim To Fame 3. Foil 4. Sports Song 5. Word Crimes 6. My Own Eyes 7. NOW That’s What I Call Polka! 8. Mission Statement 9. Inactive 10. First World Problems 11. Tacky 12. Jackson Park Express
Weird Al Yankovic is easily one of my favourite artists of all time, and his career has now lasted well over 30 years. The king of musical parody has always been most famous for his direct musical homages, which ape the exact melodies of relevant pop songs, but his astoundingly lengthy success can also be attributed to his underrated songwriting skills, both in his famous “style parodies” and his completely original tunes. This aspect was arguably in short supply on his last album, 2011’s Alpocalypse, which was also criticised for falling behind the rapidly accelerating pace of pop culture trends. I’m happy to say that Weird Al’s fresh album release, Mandatory Fun, has no such problems. Al’s shrewd choice of song topics, not to mention his clever promotion method of releasing eight music videos in eight days, has proved he is as adaptable as anyone, and that makes me rather happy.
I’ve been both busy and ill this last week, which is never the best combo for this blog, but here we go now.
It was the experience I felt I had to have. After almost three years without such an opportunity, last weekend I finally made it to a full-on K-Pop concert (That incredible late 2011 K-Pop extravaganza came a few months before I cared). Though my enthusiasm for the genre probably peaked last year, when I came pretty damn close to attending a similar event before it fell through, I am by no means done with appreciating K-Pop and even if I was, I have bought so many albums and written so many words about it already that to move on without having seen it live in its purest form would have been a real shame.
Enter TS Entertainment and their always busy headline act, six-member male group B.A.P.
Also known as “A K-Pop World Tour That Actually Includes Australia – Wow.”
Sydney’s Big Top in Luna Park was packed for the May 10 performance event and there was a surprisingly decent contingent of older and male fans getting into the swing of things (I had expected an almost completely teenage fangirl demographic in the crowd and was happy to be proved wrong). As I mentioned in a K-Pop countdown two years ago, B.A.P’s musical output does tend to have a more universal appeal than most male K-Pop groups, so perhaps I shouldn’t have been so surprised. Continue reading →
Day three and we move back into the K-Pop sphere with an article written by one third of the K-Pop dance cover group ZISSPop (check them out on YouTube) who also happens to be my sister.
Also, a quick note: Unfortunately tomorrow I won’t have the means to post anything, so Guest Week will technically go on one day longer this time around.
—Written by Krispy—
—Edited/formatted by Vagrantesque—
Hello, all. I am Krispy, sibling of Vagrantesque. Some of you may know me from ‘ZISSpop’, my K-Pop dance cover group. I have a special interest in both dance and Korean culture, so K-Pop is sort of my forte, given that it includes a generous portion of both. The following article details what – in my opinion – have been some of the best and worst decisions in the Korean Pop Music genre thus far. This includes relevant factors such as fashion, music taste, choreography, skill and group dynamic; not just music. If you know nothing about K-Pop, you probably won’t really know what I’m talking about, but feel free to give it a read anyway.
OK, what?
I tried to choose and rank these objectively (which meant getting rid of all my bias’ and fan-girl conceived opinions). The result was quite a lengthy and detailed analysis of various components within K-Pop. If you do not agree, I hope that you can at least enjoy!
– – – KRISPY DISCLAIMER – – – The following article represents my opinion only. I am not trying to say that my opinion is the way to go, nor am I trying to claim that mine is the only one that matters, nor that I am the best. Although a lot of the following information is factual, my opinion is not fact. I do welcome your opinions, but please don’t bully me. Ty.
The Seven Worst decisions
7. Doing a second ‘Growl’ clip.
A collection of EXO’s close ups in the 2nd video for ‘Growl’.
Look, do I want to be that guy who complains about seeing extra EXO footage? No. But it just seems to me that SM’s second rendition of EXO’s Growl was a touch unnecessary. The first video had already gone viral because of how unique it was, with its smooth camera work, its complex choreography and the fact that it was (supposedly) all filmed in one single take. So why would you divert people from that? (Inb4 ‘fan-service’ and ‘for the money’). Don’t get me wrong, I love EXO as much as the next guy (probably a little more than the next guy), but to me they just take the simple first video and jazz it up, add some special effects, put a little more makeup on the blokes and force them to repeat the choreo in front of a snazzy background (and without the 360 degree camera action that made the first video unforgettable!) Call me old fashioned, but I am just a fan of some good dancing, and EXO showed a new level of skill in that first Growl clip that will set them apart from other K-Pop groups for the foreseeable future (even if only for that shot of Kai dropping his hat and then swiftly picking it up and stepping back into the choreo without blinking an eye).
That’s right, this is here now, which means two things:
I listened to enough K-Pop albums, and saw enough merit in them, in 2013 to be able to make this list; and
I really didn’t buy nearly enough English-language music this year to do any sort of countdown relating to it.
If listening to K-Pop is a bit of a niche pursuit in these parts of the world, which it certainly is, then indulging in K-Pop albums is like a niche within a niche. Unfortunately many K-Pop fans never go beyond watching the MVs that, to be fair, kind of define their industry, and they don’t see any reason to do so. Typically K-Pop albums can be shallow efforts to fill a track quota and make more money off the hype surrounding a single title track. My efforts to explore the extensive back catalogue of K-Pop albums in 2012 revealed as much, with some exceptions of course. Something changed in 2013, though. The general standard of albums I looked into this year seems to have raised, for reasons I won’t speculate on. I’m cool with it, though. Particularly noticeable was the output of SM Entertainment, previously one of the absolute worst offenders in this area. They released “full albums”, as opposed to the far more common and easy to release “mini-albums”, for pretty much every major group in their stable in 2013. Most of them were quite good to boot. As the number one record label in K-Pop, I would be surprised if this didn’t influence some of the other companies in some way to put more effort and creativity into their album writing.
Because they have fundamentally different structures, this countdown is actually divided into two top fives: one for mini-albums and one for full albums. An album counts as “full” for the purposes of this list if it has eight tracks or more.
. -◊-◊-◊-◊- VR BEST OF 2013 DISCLAIMER This list represents my opinion only. I am not asserting any kind of superiority or self-importance by presenting it as I have. My opinion is not fact. If you actually agree with me 100%, that’s scary. Respectful disagreement is welcome. -◊-◊-◊-◊-
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MINI ALBUMS
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5. A’s Doll House – Ailee
Korean-American YouTube singer turned K-Pop star Ailee has one of the most powerful voices in the current industry landscape and she puts her pipes to work in her second Mini-Album A Doll’s House, which manages to trump her debut 2012 effort Invitation despite only featuring one title track (Invitation had two good ones). Said title track, bombastic big band song U&I, is a perfect high-energy opener to the album, before songs like No No No,Scandal and final track I’ll Be OK showcase her mid-tempo proficiency. How Can This Be is an enjoyable 3/4 ballad, but the highlight of the album is unquestionably Rainy Day (audio below) which builds well and lets Ailee hit plenty of vocal heights. As an article on seoulbeats.com so astutely pointed out this year, the song sounds even better with the site Rainy Mood open in another tab.
2013, much like any other year, saw an insane amount of movement in the Korean popular music industry. Its lightning-fast trends and short attention span continued to make the rest of the music world seem like it was moving at a snail’s pace, and while the obscene rate of new groups debuting in 2012 slowed considerably this year, there was still a constant stream of new material to ensure boredom was near-impossible. While I didn’t quite follow the industry as comprehensively as I did in 2012, and despite some stretches of time without any remarkable releases, the sheer volume of music on offer meant that I sat down to chisel this countdown out of a shortlist of no less than 39 tracks. I honestly struggled to keep the honorable mentions at just ten.
Just like last year, this list is devoted to “K-Pop Singles” only (they’re technically “title tracks”, but no need to confuse things too much). No album-only tracks, or ‘B-sides’, if you will, or else we would be here for a while. This year there will be a list dedicated to K-Pop albums anyway. Once again, I’ve ignored every 2013 K-Pop single released in Japanese or other non-Korean languages. But don’t let that stop you from checking some of them out (particularly when it comes to SNSD). Tracks are ordered based on visual factors as well as musical ones (such is K-Pop) but audio strength is given preference where applicable. Let’s get started.
. -◊-◊-◊-◊- VR BEST OF 2013 DISCLAIMER This list represents my opinion only. I am not asserting any kind of superiority or self-importance by presenting it as I have. My opinion is not fact. If you actually agree with me 100%, that’s scary. Respectful disagreement is welcome. -◊-◊-◊-◊-
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15. Gentleman – PSY
Let’s kick things off by giving credit where credit is due. PSY may not have lit up the world like he did in 2012 with Gangnam Style, but his 2013 follow-up Gentleman still managed to smash several YouTube viewing records. Though the song no doubt shares deliberate similarities with last year’s mega-hit, it maintains its own character through a more aggressive style of humour, a larger scale and a partnership – both in personnel and in borrowed choreography – with veteran girl group Brown Eyed Girls. Ga In of the influential foursome brings her famous Abracadabra moves to PSY’s set to enhance an already hilarious and catchy package.
So it’s probably pretty safe to say that much of my recent life has been dominated by writing about the Legend of Zelda series. But that doesn’t mean there wasn’t anything else going on worth blogging about during that hectic rush. Here’s a quick summary of the kind of things I might have written about during the last five weeks if I hadn’t wanted to keep Vagrant Rant dedicated to Zelda countdowns:
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Rayman Legends is my favourite 2D platformer of all time.
I reached the end credits of Rayman Legends with my brother a few weeks ago now (which by no means indicates that the game is actually finished) and while reflecting on my experience with the game I struggled to come up with a side-scrolling platformer I’ve enjoyed more. Ever. That includes the Mario games. There’s just so much charm and variety throughout the game, it looks and sounds amazing and its co-op, at least when played with the Wii U gamepad, is incredible. This will be up there in my personal game of the year calculations for sure, because it’s just on another level of amazing.
Vagrant Rant 